10 Crack Commandments (of Comics)

Get your game on track as an indie creator

Some big news in comics last week as the former founders of Comixology announced a new publishing venture called DSTLRY, launching with an all-star roster of creators, and taking aim at the current prevailing model of comics deals, which is not always the fairest when it comes to creator compensation and rights distribution.

First off, I love the model DSTLRY is proposing, at least as far as I understand it from the press (there’s a great interview about it here). Giving creators equity in the company, supporting them with marketing, PR, and funding are all amazing, and I truly do hope things like this become the norm in the industry across all publishers.

Buuuut we’re not there yet. Right now, as an indie creator, there are a lot of bad deals out there, and a few that are even borderline predatory. I’ve been blessed enough to avoid any that were particularly terrible, but I have plenty of friends who sincerely regret the contracts they signed with certain publishers. And I have others that have taken what might be considered a bad deal on paper, but are happy with it because it helped them achieve a bigger, more long term goal.

Outside of things that are clearly predatory, like say, a company charging YOU to publish with them, or demanding 100% of all your rights in perpetuity, there is no right or wrong, really - there’s just what’s right or wrong for your goals.

So there are times where it definitely makes sense to take a sub-optimal deal if you can see yourself getting something more out of it - you give up some rights that you’d rather keep, but you know the book has a great chance of hitting big enough to make the deal on your next one better. I can’t help you with that calculus, but we all do it. We game it out, and make the moves that make the most sense.

Speaking of game…

Ten Crack Commandments, one of the all-time greats by the Notorious B.I.G. (one of the all-time greats himself), popped up on my playlist last week, and I thought it might be fun to take a look at the lyrics and think about how they apply to freelancing in comics… because if there’s one thing both games have in common, its that they take a lot of hustle!

I've been in this game for years, it made me an animal
There’s rules to this shit, I wrote me a manual
A step-by-step booklet for you to get
Your game on track, not your wig pushed back
- The Notorious B.I.G.

1. Never let no one know how much dough you hold.

Ok, in my mind, this comes up when you’re negotiating budgets for projects. It’s kind of like negotiating for a salary at a job interview - if you’re the first one to give the number, you run the risk of lowballing yourself. Conversely, if you’re the one commissioning the art, you run the risk of overpaying, which is a good thing for the artist but it might be better for the project if you were able to stretch the budget more. Whichever side of negotiations you’re on, you want to be fair and equitable - but before you put all your cards on the table, it helps to get as much information as you can about the number the other party has in mind so you can make a smart decision.

2. Never let them know your next move.

It’s real, real easy to get pigeonholed as a creative. You start out just working on the stuff you like, and all of a sudden people are calling you a horror author, or a science fiction author, or fantasist. And if you love writing those things, it’s great - but the problem is that sometimes you can find yourself in a place where that’s all anyone thinks you can do. But there are great horror writers who can also tell great fantasy stories. There are sci-fi writers who would also do great romances. So I think it’s great to switch it up every once in a while - surprise people, give them the unexpected - it’s a great way to introduce your diehard readers to the breadth of your talent, and also a great way to pull new ones in, who aren’t necessarily fans of your core genre.

3. Never trust nobody.

Always get a contract. Always, always, always. Whether its with a publisher you’re working with, or an artist you’re hiring for a self-published book, get everything on paper. It’s not so much about trust, though there are untrustworthy people and places in this business, its about both parties being on the same page. Things can go wrong despite the best of intentions on both ends, and it really, really helps to have a document where the terms and responsibilities are laid out clearly. You sign them with the hope you’ll never have to use it as evidence in a lawsuit, but believe me, if it comes to that, it’s worth its weight in gold. A couple of great resources for comic creators needing contract or legal advice are: Creative Contract Consulting and Comics Lawyer, if you want to read up on best practices, and find representation.

4. Never get high on your own supply.

I’d tell you not to read your own reviews but we both know you’re going to, so just go ahead. But realize that whether the reviews are universally calling your book the best thing since Watchmen, or calling it one that’s best used as a litter box liner, I encourage you to just tune that shit out. It’s just one person’s opinion, and if comic reviews actually moved units or made careers, comic book review sites would be in a lot better shape than they are. So don’t believe the hype, good or bad. Just do the work.

5. Never sell no crack where you rest at.

One tricky thing about comics is that most people that get into making them also love to read them - it’s what got them into creating in the first place. And when you turn a hobby into a business, even a side business, things can get so messy you lose sight of what you used to enjoy about it in the first place. So, when you’re reading comics for pleasure, try to put all the business stuff out of your head, and just enjoy it, otherwise you risk burning out on something you love.

6. That goddamn credit? Dead it.

Don’t work for exposure, and don’t ask for other people to work for exposure. Period.

7. Keep your family and business completely separated.

It’s reeeeal easy to get frustrated in this business. At every level you’re going to face things that just flat out make you want to quit, they’re so infuriating. Sometimes it’s a pitch you love getting rejected. Sometimes it’s six months to a year of unanswered emails. Sometimes it’s a book coming out that’s almost exactly like one you had planned. Hell, sometimes it’s a company flat out not paying you for the work you did. The point is, though, these are industry problems, and you need to do your best to not have them affect your personal life and the relationships with the people you care most about. Wherever you are in the industry, you are going to have a lot to be pissed off about - so use the people in your life for support, not punching bags.

8. Never keep no weight on you.

Making a comic is a team endeavor. You’ve got the creative team, the editorial team, and if you’re with a publisher, the marketing team, sales team, etc. Thing is, a lot of times as an indie creator, you’re expected to wear all those hats and more. It can get a little overwhelming - and if you fall behind, or burn out, you’re not doing anyone any good. So ask for help when you need it. Everyone on the team should be able to pull their weight, and there are people out there you can add to your team to help out too - like freelance PR people, marketing consultants, social media folks. It sounds expensive, and sometimes it is, but there are definitely affordable people out there, if you’re willing to look.

9. If you ain’t getting bagged, stay the fuck the police.

Comic books, especially direct market books, is a really small industry. The indie component of it is even smaller. And while nobody knows every single person, pretty much everybody talks to everybody. What that means is, if you talk shit about people, you can count on the fact it’s going to get back to them sooner or later. And in most cases, hey, its probably not a huge deal, but the bigger your rep as a shit-talker grows, the better chance it has to reach the ears of someone you might actually want to work with someday. So look, have fun, commiserate with people you trust, sure. But don’t talk shit, especially not in public… you’ll be happier for it in the end.

10. Consignment. Strictly for live men, not for freshmen.

Don’t make promises you can’t keep. If you can’t fit a project into your schedule, even a dream project, it’s better to pass than it is to fuck it up. And on the other end, if you’re paying someone for their work, make sure you can pay them, and pay them on time. If you take on more than you can handle, in either direction, you’re just screwing yourself over, and ruining your reputation. So be honest with yourself about what you can handle, and don’t take on anything more than that.

Ok, that’s 10. There’s a lot more stuff out there that’s good to know, but I thought this was a fun way to get some of the basics down. Here’s hoping they help you keep your career as a creator in comics (or in anything really) on track.

Next time, I’ll be talking a bit more about Breath of Shadows #4, which is out in a couple of weeks.

Hope to see you back here!

- Rich